Memo (class)

Rules to live, govern, create, work by

A principle or theory to apply to your work

A public and formalised statement of intent

Benefit f manifesto

Why have a manifesto as an artist/ designer?

- Reminds of our intentions (keeps us focused)

- Enables audience to understand what motivates your work + Influences outcomes

Dogme 95

Dogme 95 was an avant-garde filmmaking movement started in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg, who created the "Dogme 95 Manifesto" and the "Vow of Chastity" (Danish: kyskhedsløfter). These were rules to create filmmaking based on the traditional values of story, acting, and theme, and excluding the use of elaborate special effects or technology. It was an attempt to take back power for the director as artist, as opposed to the studio.They were later joined by fellow Danish directors Kristian Levring and Søren Kragh-Jacobsen, forming the Dogme 95 Collective or the Dogme Brethren. Dogme is the Danish word for dogma.

Rules that invite one to look really close and see just how Dogme95 Rules. Rules that invite one to look really close and see just how odd reality can be. Rules that issue a simple challenge to film-makers ;"Come down to street level, and tell stories from there."

How seriously then do you subscribe the idea that Dogme is ore truthful cinema?

I have to subscribe to that point of view. But I think if you follow these then Rules, without question, they force some kind of issue of truth, to reflection of truth, from the actors, from the characters and the story-which ultimately you have to reckon is something more truthful than had you not worked that way. That's not to say that this way is the most truthful way to make a film. It's to say that you have to reckon with some kind of semblance of honesty.

(Interview with Harmony Korine)

I agree with this opinion, where I put blue line. Realism and Truth always show the real issue to the audience, viewers. Keep the rule of Dogme95 is kinds of impossible but I really like the idea of back to the basics and just show the issue or  what artist want to tell viewer most.

I really like this manifesto because It is not for the rule of work. It is about  what's artist supposed to be. It's also important to think about what I supposed to be, do as an artist. 

Rei Kawakubo's Creative Manifesto

Going around museums and galleries, seeing films, talking to people, seeing new shops, looking at silly magazines, taking an interest in the activities of people in the street, looking at art, travelling: all these things are not useful, all these things do not help me, do not give me any direct stimulation to help my search for something new. And neither does fashion history. The reason for that is that all these things above already exist.

I only can wait for the chance for something completely new to be born within myself.

The way I go about looking for this from within is to start with a provisional ‘theme.’ I make an abstract image in my head. I think paradoxically (oppositely) about patterns I have used before. I put parts of patterns where they don’t usually go. I break the idea of ‘clothes.’ I think about using for everything what one would normally use for one thing. Give myself limitations. I pursue a situation where I am not free. I think about a world of only the tiniest narrowest possibilities. I close myself. I think that everything about the way of making clothes hitherto is no good. This is the rule I always give myself: that nothing new can come from a situation that involves being free or that doesn’t involve suffering.

In order to make this SS14 collection, I wanted to change the usual route within my head. I tried to look at everything I look at in a different way. I thought a way to do this was to start out with the intention of not even trying to make clothes. I tried to think and feel and see as if I wasn’t making clothes.

Her manifesto express an idea of individuality. Everyone go to same place for inspiration and make same thing these day. Also When I attend the talk event of Marina Abramovic, she said that lots of young artist just imitate or make look same from the other artist. I think this is very important that creativity is an individual process, no two people work in the same way.

Since I’ve started studying at CSM, I am always trying to do different thing and break “my rule”. We usual route something without noting in everyday life. It is really important as an artist and being creative, try lots of thing and discover new aspect of myself all the time.

Malevich suprematism(Suprematism)

The development of Cubism in combination with Futurism meant interrelating the shapes that resulted from Cubist disintegration of the object, produced by the dynamics of movement, with proportionate areas of colour, shaped according to their imagined movement around a central axis.For Malevich, this axis is the artist or viewer. The act of painting "blossoms" before the artist or viewer with coloured surfaces composed of mixed tones and local colour.

To achieve the necessary colour effect, Malevich constantly referred to the law of complementary colour. Typical for him was the juxtaposition of red and green areas. Placed next to each other these complementary colours acquire the highest degree of brightness and lushness. During work on the Portrait of the Composer M.V.Matiushin, Malevich also explored new tonal effects of colour in order to change colour resonance.

He resorted to a painterly device known to Leonardo, who wrote that when a transparent colour "is placed on top of another, the individual colours are not altered, but a mixed colour, different from each its factors, is formed." Following this principle, Malevich painted some of his shapes twice. Covering an areas rather opaquely with red or violet, he then gave the same area a thin, transparent layer of black. While the black layer dulls the brightness of the red and violet, these hues, filtered through the black layer, acquire an extraordinary, mysterious resonance.

In each of these three Cubo-Futurist paintings, there are "whitened" and "darkened", or "eclipsed", colours. "Whitened" tones are created by adding white pigment, which dulls colour intensity as it increases reflectiveness. In accordance with traditional oil painting, all elements in his pictures painted in "whitened" colours have a rich surface texture. Gradually washing out the local colour along the edges of one of the shapes, he finished the section with pure white, which creates the effect of uneven lighting.

The lush "coloured-shadow" range seems to build the form and model conventional volume. In this way, a so-called shadow is denoted by a primary colour, with the gradual transition to a maximal light value conveyed by a highly whitened colour and pure white. 

In his manifestos Malevich strongly emphasized surface treatment: "Cubusm, besides its constructive, architectonic and philosophic content, had various forms of surface treatment." His Cubo-Futurist painting exhibit many kinds of surface treatment enameled, rough, lacquered, and mat surfaces; surfaces incised with lines made by the brush handle; and raised or relief surfaces. All were used, he wrote; to achieve the rhythm of Cubust surface and form and the constructive unity between the elements of descriptive pictorial form." adding that "not everything painted in oils is pictorial". For this reason, objects are indicated by means of areas of painted colour. In Vanity Case means there is an "illusionistic penal with pronounced, layered detail." An almost geometrically correct rectangle is achieved with a thick layer of ocher applied directly from the tube and then apread with a stiff brush on a layer of damp paint, producing a surface with sharp, protuberant brush strokes. Next to this rectangle is a low, smoothly painted surface. "Any painted surface, transformed into a convex painted relief, is an formed into convex painted relief, is an artificial, colourd sculpture, and any relief, transformed into surface, is painting." In the portrait os Matiushin, the hair is painted first light and brushed over the damp paint layer, which gives them higher relief.

Concrete Poetry

Concrete, pattern, or shape poetry is an arrangement of linguistic elements in which the typographical effect is more important in conveying meaning than verbal significance. It is sometimes referred to as visual poetry, a term that has now developed a distinct meaning of its own. As such, concrete poetry relates more to the visual than to the verbal arts and there is a considerable overlap in the kind of product to which it refers. Historically, however, concrete poetry has developed from a long tradition of shaped poems in which the words are arranged in such a way as to depict their subject

History of concrete poetry

While a handful of contemporary designers have cited the influence of concrete poetry on their typographic thinking, for most the subject has, been, quite literally, a closed book. Few anthologies of even the acknowledged landmarks of the genre are currently in print. 

Some of the difficulty in staking a permanent place for concrete poetry in the cultural lexicon may have come from defining what it is. ‘Concrete poetry begins by being aware of graphic space as its structural agent, as the cosmos in which it moves,’ wrote one of its finest and most tireless British exponents, Dom Sylvester Houédard, in 1963. ‘A printed concrete poem is ambiguously both typographic-poetry and poetic-typography – not just a poem in this layout, but a poem that is its own type arrangement.’ But a concrete poem does not have to be linguistic, or even typographic at all; it can be made out of anything from a collection of right-angles to a pyramid of eyes, mouths and car headlights clipped from magazines.

The production of concrete poetry reached its peak in the 1960s and early 1970s. The term was first used by the Swedish pop artists and poet Öyvind Fahlström in 1955 and almost simultaneously in Latin America by Augusto de Campos and in Europe by Eugen Gomringer and others. Many of the ideas outlined in concrete poetry manifestos draw on theories of Concrete Art as expressed by Theo van Doesburg, Jean Arp, Jan Tschichold, Max Bill and Max Bense. But such manifestos often use the term ‘concrete’ to mean ‘abstract’, in much the same way as Mondrian, within an overall quest for non-representation, occasionally produced paintings which are abstractions of something, for instance the late Broadway Boogie-woogie and unfinished Victory Boogie-woogie. For all its avant-garde attributes, in the practice of concrete poetry, the past is ever present.

While concrete poetry in its narrowest sense may appear to have emerged from nowhere in the mid-1950s, as with most artistic innovations it has an extensive prehistory. This prehistory stretches almost uninterrupted back to 1700 BC with the Phaistos Disc found in Crete, or to Egyptian hieroglyphs. Pre-concrete visual poetry is sometimes termed ‘pattern poetry’, especially in American sources.

Concrete poetry was initially disseminated by practitioners such as Houédard and Ian Hamilton Finlay by mail, and the volume of international correspondence of such figures is prodigious.

Concrete poetry was distributed via small press magazines and exhibitions because the established literary presses of most demoncratic countries rarely paid it any attention except occasionally to vilefy it. This explains the lack of entries under the heading ‘concrete poetry’ in most reference books and why there is practically nothing on the subject to be found in bookshops, although over 20 anthologies of concrete poetry have been published in different countries. In Britain these were a long-running, intermittent and acrimonious dialogue between the proponents of concrete poetry and the traditionalists of the Poetry Society, which from time to time erupted into the national press. Concrete poetry’s development as an international phenomenon was better aided by the innumerable exhibitions including ‘Poesie Concreta’ at the 1969 Venice Biennale, the ‘Exposicion de Poesia novissima’ which opened in Buenos Aires in 1969 and subsequently toured South America, and ‘Concrete Poetry’ at the Stedelijk Museum in Amsterdam in 1970, which toured Europe. Art magazines have shown more interest in concrete poetry than literary ones, and Scottish artist and concrete poet Ian Hamilton Finlay has continued to exhibit in establishment art galleries and has received accolades in mainstream colour supplements. But Finlay is the exception.

The effect of self-illustration in concrete poetry is achieved in a variety of ways, including the use of photographs or drawing and the arrangement of type. The categories I have outlined below, formulated originally in 1967 to analyse my large collection of word-images cut from advertisements, serve as means of understanding the basically parallel mechanisms at work in concrete poetry and as a conceptual programme for generating word-images. The terminology may sound rather flat, but in an attempt to be more clear and precise I have avoided apparently more learned but in fact more vague terms such as ‘image’.

Concrete poems have ingredients from signs, letter(s), number(s), picture(s) and colours. The enormous condensation of meaning present in the genre means that there are concrete poems which work at the level of a single letter. Ezra Pound stated ‘poetry = condensare = Dichtung’. Concrete poetry is even more condensed than conventional poetry.

Concrete poetry manifestos

Sam Winston

Sam Winston's practice is concerned with language both as a carrier of messages, but also as a form in and of itself. Initially known for his typography and artist books he employs a variety of different approaches, including drawing, data mapping and poetry.

A continuing theme is his exploration of the hidden narratives found in canonical bodies of text. Works such as Darwin's Origin of the Species or classic nineteenth century children's literature are often subject to data mining and cut and paste techniques, playfully revealing meta narratives and visual assumptions.

Simon Frank

Grayson Perry "Red alan" Manifesto

Guerrilla Girls Manifesto

ANTI_FASHION MANIFESTO by Lidewij Edelkoort

This much-talked-about and thought-provoking manifesto by the world’s most respected trend forecaster covers the 10 main issues that indicate the fashion industry has reached breaking point. Edelkoort courageously confronts marketing and advertising, as well as challenging education, materials, manufacturing, retailing, designers, fashion shows, the press and consumers alike. This means that the economy of clothes will take over from the turnover of fashion. Therefore trend forecasting has changed as well, taking its leads from social change and finding creative ideas within lifestyle trends and consumer behavior. A break-through philosophy focusing on textiles, garment-making and the imminent revival of couture. It’s time to simply celebrate clothes!